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Editorial Reviews
From Publishers Weekly
Arguably America's most popular painter, O'Keeffe (1887–1986) receives a full, too full, biography from art critic Drohojowska-Philp in her book debut. The first section reaches back four full decades before the artist's birth to O'Keeffe's immigrant grandparents' Wisconsin farm, and forward through O'Keeffe's studies (Art Institute of Chicago; Art Students League, New York), her jobs (commercial artist, art teacher) and her romances with various artists and others. The midsection, covering 1918–1946, details the New York years, O'Keeffe's relationship with photographer and art dealer Alfred Stieglitz and her blossoming as a painter. The New Mexico decades between Stieglitz's death and O'Keeffe's (1947–1986), years of large canvases, honors and aging, complete the triptych. O'Keeffe was a prolific artist (more than 900 works), and Drohojowska-Philp seems driven to remark on as many as can be squeezed in. Notably greater detail about Dorothy Norman, who became Stieglitz's lover, and John Hamilton, who attended O'Keeffe during the last decade of her life, mark the book, but are all but buried beneath a paralyzing avalanche of tiresome detail and hollow data: "At four-thirty in the morning, [O'Keeffe] watched the sun rise over the glacial lake."
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.
From The New Yorker
Georgia O'Keeffe's long and prolific life lasted nearly a century, but much of it was comparatively uneventful. Her farmgirl childhood in Wisconsin and the retreat to New Mexico that occupied the second half of her life were separated by a glamorous period—a thirty-year sojourn in bohemian New York, where she was for a time the wife, muse, and protégée of the aging photographer Alfred Stieglitz. It was he who promoted her as an artist, and initially O'Keeffe struggled to assert her autonomy. Drohojowska-Philp's biography painstakingly assembles the details of O'Keeffe's life—love letters, financial problems, a schoolteacher who said that her drawing of a child's hand was too small—but occasionally fails in the attempt to make them seem important in relation to the art. "Where I come from, the earth means everything," O'Keeffe said, and she seems to have lived most of her life in accordance with this principle.
Copyright © 2005 The New Yorker
See all Editorial Reviews
Arguably America's most popular painter, O'Keeffe (1887–1986) receives a full, too full, biography from art critic Drohojowska-Philp in her book debut. The first section reaches back four full decades before the artist's birth to O'Keeffe's immigrant grandparents' Wisconsin farm, and forward through O'Keeffe's studies (Art Institute of Chicago; Art Students League, New York), her jobs (commercial artist, art teacher) and her romances with various artists and others. The midsection, covering 1918–1946, details the New York years, O'Keeffe's relationship with photographer and art dealer Alfred Stieglitz and her blossoming as a painter. The New Mexico decades between Stieglitz's death and O'Keeffe's (1947–1986), years of large canvases, honors and aging, complete the triptych. O'Keeffe was a prolific artist (more than 900 works), and Drohojowska-Philp seems driven to remark on as many as can be squeezed in. Notably greater detail about Dorothy Norman, who became Stieglitz's lover, and John Hamilton, who attended O'Keeffe during the last decade of her life, mark the book, but are all but buried beneath a paralyzing avalanche of tiresome detail and hollow data: "At four-thirty in the morning, [O'Keeffe] watched the sun rise over the glacial lake."
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.
From The New Yorker
Georgia O'Keeffe's long and prolific life lasted nearly a century, but much of it was comparatively uneventful. Her farmgirl childhood in Wisconsin and the retreat to New Mexico that occupied the second half of her life were separated by a glamorous period—a thirty-year sojourn in bohemian New York, where she was for a time the wife, muse, and protégée of the aging photographer Alfred Stieglitz. It was he who promoted her as an artist, and initially O'Keeffe struggled to assert her autonomy. Drohojowska-Philp's biography painstakingly assembles the details of O'Keeffe's life—love letters, financial problems, a schoolteacher who said that her drawing of a child's hand was too small—but occasionally fails in the attempt to make them seem important in relation to the art. "Where I come from, the earth means everything," O'Keeffe said, and she seems to have lived most of her life in accordance with this principle.
Copyright © 2005 The New Yorker
See all Editorial Reviews
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